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HOW TO DRAW

Putting Things in Perspective

Backgrounds/Crowds
HOW TO DRAW MANGA:
Putting Things in Perspective
by K's Art

Copyright© 1997 K's Art

Copyright© 1997 Graphic-sha Publishing Co., Ltd.

First designed and published in 1997 by Graphic-sha Publishing Co., Ltd.

This English edition was published in 2002 by
Graphic-sha Publishing Co., Ltd.
1-14-17 Kudan-kita, Chiyoda-ku, Tokyo 102-0073 Japan ·

Production director: Katsuya Yamakami

Production manager: Hikaru Hayashi
Background artist: Maguro
Finishing work artist: Nobuko Yuuki
English title logo design: Hideyuki Amemura
English edition layout: Shinichi lshioka
English translation management: Ungua franca, Inc. (an3y-skmt@asahi-net.or.jp)
Japanese edition editor: Motofumi Nakanish (Graphic-sha Publishing Co., Ltd.)
Foreign language edition project coordinator: Kumiko Sakamoto (Graphic-sha Publishing Co., Ltd.)

All rights reserved. No part of this publication may be reproduced,

stored in a retrieval system, or transmitted in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise,
without the prior written permission of the publisher

Distributed by Distributed Exclusively

NIPPON SHUPPAN HANBAIINC. In North America by
4-3 Kanda Surugadai, Digital Manga Distribution
Chiyoda-ku, Tokyo 1123 Dominguez St., Unit "K"
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Tel: +81-(0)3-3233-4083 Tel: (31 0)- 604-9701
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Rrst printing : October 2002

: 4-7661 -1256-3
=- _.,_ bound in China
 Introduction Why Draw Backgrounds? I
Backgrounds indicate where
characters are. They are drawn
to illustrate places and
situations.

A cut with only the character

r--t--+--l--li+-l

What backgrounds provide·

• Give depth to a picture and
create spatial expansion.
• Allow expression of the tilne of
day and season.
• Bring out the characteristics and
moods of characters.
• Convey a clear image without
use of words.

A cut with the background included

5
• Example without background

SLAM

Ah. Somebody
just appeared 1... 1can't stop!
from around
the corner!

Better take a
sho rtcut!

PITTER-PATTER

In this scene, a girl in a hurry collides with someone at a corner. The

scene is much easier to grasp with the background.
• Example with background

7
 Table of Contents

lntroduction:Why Draw Backgrounds? ....... 5 • How to create height differences

- Raising and lowering the head
Chapter 1 • An easier way to draw crowds
Basics: Standing on the Earth ......... 11 Creating Effects by Changing the
Begin Drawing Backgrounds Composition of a Picture ........................... 56
with a Single Horizon Line ....................... 12 • Drawing upward views
• Drawing manga is just like filming a movie. • Three-point perspective drawing
• Presentation: Long shots and close-ups • Ariel view of scenery - Bird's-eye view
• Vanishing point • Making a group of buildings
• Simple way to pick a vanishing point in the distance look cool
How to Draw in One-Point Perspective: • Perspective when the ground is curved
Let•s Try Drawing while Let•s Draw Outer Space ............................ 65
Looking at a Photograph ........................... 23
• Drawings suited to one-point perspective
• When to use two-point perspective Chapter 3
Distance of natural objects:
Tree-Lined Roads/
Chapter 2 Light and Shadow/Sky ........................... 67
Drawing the Outdoors: How to Draw Trees ............................. ..... ......... 68
From Everyday Scenery • Drawing roadside trees
to Outer Space ............................................ 29 • Drawing a tree-lined road
How to Draw a Roof ......................................... 30 • Drawing shrubbery
How to Draw Slopes ......................................... 34 • Leaves of roadside trees
How to Draw Forked Roads ............................. 36 How to Draw Shadows ......... ............................ 72
Drawing Houses • Sunlight
- When the Vanishing Point is Far Away ....... 38 • Light from streetlights and indoor lights
Drawing a Gymnasium .................................... .40
How to Draw Characters and Backgrounds .... .42 Effective Use of Backgrounds
• Placing multiple characters - Slide method Basic concepts and techniques .............. 74
• How to draw groups of students going to
or coming home from school

8
Chapter 4 Chapter 5
Drawing Indoor Scenes How to Draw Backgrounds
Hallways/Stairs/Small Objects ........... 79 Learning by Doing ...................................109
How to Make a Narrow Hallway Look Wide ..... 80 Process of Drawing Manga Backgrounds ...... 11 0
Classroom: How to Draw Desks ....................... 83 1. Drawing a residential area
• Common chair/desk composition 2. Drawing a school
and the horizon 3. Pen drawing
Distance Between Characters and Walls ......... 88 4. Erasing and white correction fluid
How to Draw Indoor Scenes (Living room) ...... 90 5. Adding tone 1 - Residential area
1. Drawing the opposite wall 6. Adding tone 2 - School
2. Drawing a rough sketch Comparison of Characters and Objects ......... 122
3. Drawing a couch.
4. Drawing a table. Chapter 6
5. Drawing a TV stand. Special Effects and Character
Drawing Small Indoor Objects ......................... 95 Representation Using Perspective .. 125
• Small objects on tables and desks - 1 Drawing Special Effect Lines and
Drawing without using perspective Sound Words Using Perspective .......................... 126
• Small objects on tables and desks - 2 Creating a Greater Sense of Existence
Drawing using perspective Using Minor Techniques ...................................... 129
• How to draw cups: Circles on tables Drawing with Perspective Rulers ........................130
• Drawing small objects Special Effects Using Perspective Techniques ..... 132
Using cellular phones as an example Various wide angles ............................................ 135
Drawing Beds .................................................100 Examples/Changing Camera Angles .................... 136
Drawing Doors ............................................... 102
• Structure of doors
• Opening doors
• Examples of open doors
Drawing Stairs .......................... ..................... 105
• Looking down a flight of stairs
• Side view of stairs
• Distinguishing features of stairs

9
 . --

-:=:-·- ----~~--

~ =- _...J-
 ----------~
~
- ----:.::--=

- ~f~---....,.,;,_~~
--::;:;:: -;-.:-
- ~
'l -.. . _ _....-:.--=-
:- / -~

~~~~,~~-
 When you want to draw a
picture with the main
character standing in a
wasteland, draw a dividing
line between the earth and
the sky (horizon). All
backgrounds begin with
drawing of the horizon.

/\---------'
fl
The expanse of the earth differs
depending on the position of the
horizon.

Column: In Japanese class, the dividing line between the earth and the sky is called chiheisen
(horizon) and the dividing line between oceans and the sky is called suiheisen (horizon), but both
2 are referred to as suiheisen in drawing.
Drawing manga is just like filming a movie. I
When drawing the horizon, pretend like you are filming a
movie and think about where you will hold the camera.

Three types of horizons

/
CD That drawn above a character
~ That drawn in a' character
® That dr~wn under a character

~CD
r1

In manga, the height of the camera is the horizon. ®

' ///
: '

~lumn: Why is the horizon on land also called suiheisen in drawing? It is called suiheisen because
it is a horizontal (suihei) line (sen).
13
[I] IDrawing the horizon below (foot level) a character I

Drawing the horizon at foot level

expresses the expanse of the wasteland.
This is a low-angled composition .

Filming conditions

CD Gentle slope
The character will float in the air when the
horizon is drawn below foot level.

CV Dig a hole to film from ground

level

•
@ The edge of a cliff is the
height of the horizon
14
'\
mI Drawing the horizon above (the head of) a character I
Drawing the horizon above the head of a character creates the sensation of looking down on the
character. The so-called bird's-eye view. This is a high-angled composition.

Filming conditions .-
Viewing height 7

Filming from radio-controlled airplane or stepladder

- ally looking down on person (bird's-eye view of character)

Bird's-eye view and the horizon

When you take a picture from the normal
bird's-eye view (looking down), you cannot
see the entire character when you attempt to
include the horizon. About all you can see is
some of the character's head. In real life, you
cannot film the entire body of a character
and the horizon unless you film from a high
place that is far away.
15
 [}] I Drawing the horizon in a character I
You draw the horizon somewhere between
the head and feet. This will create the
most ordinary view.

Filming conditions

<D Eye level W', ,,, ,, ,,., , , ,,, ,. .

@ Bust level .. ...... ....... ... ..... .. ~

@ Low angle

Manga are.cd' tawn at ~ye l_ evel

Eye level? It means~the height you are viewing.
The objects~we se~. ~IY!lry day are all .at our own
eye height. tylanga are drawn at eye level Bust shot
because that Js what we are used to. . Upper body of character from eye
Draw the hO{tzon lin§ at the .face of a char~ct~r. · level. This is a typical manga .
It is the same as focusing on someorie's face composition. The horizon is af face
when taking a photograph, (eye) level.
16
11. Eye level (faceheight) I
• This is often used in scenes
with dialogue.
• Draw the horizon at eye level
when a character is moving in
this direction or for close-ups
of the face.

2. Bust lever "' I

is is often used for full-body
~ ots.
• raw the horizon at bust
eight when drawing the
s tire body (down to feet).

3. Low angle I
is often used for dramatic
: ·esentation.
: w the horizon below the
.~ees of a character when you
81t to make a strong
- ression or give the picture
~ sense of depth or vastness.

Here a character between a close-up of feet in the foreground and a character in

the distance create a good sense of depth.

17
 Presentation: Long shots and close-ups
Think of the
difference between
long shots and
close-ups as a
difference in camera
work (presentation).

There isn't much Kitchen

need to think about
the perspective of
small objects in
scenes using long
shots.

Long shots
A long shot is a distant view. It is a form of presentation that
ma~es it look like you are viewing an object from far away.
Long shots are also used when you want to fit both characters
and background into one picture.
Use long shots (viewed from a distance) both indoors and
outdoors when you want to show the entire body of characters.
Long shots are often used for scene changes.

Long shot...zoom out Close-up ... zoom in

18
 Close-up_s I
lose-ups are used
present hands or
3 all objects.

::. a long shot when

vant to illustrate
-- ~ethi ng with an
I view. Use a
up when you want
phasize one part.

dose-up is the presentation or technique of showing an object up close

magnified.
ups are used when you want to clearly show a specific small object
a part of a character.
extreme perspective i~ sometimes used to make a strong impression.
· re using an extreme perspective is called·a wide angle '
· angle expression). "

; Technically, wide angle is a word used in photography. A thicker lens than usual is used to make
an impressive effect by making a picture extremely distorted.
19
 Vanishing point
The vanishing point is the point
where all perspective lines
converge.
A drawing technique that uses
one vanishing point is called
one-point perspective. There
are also two- and three-point
perspectives, but let's learn
about the vanishing point using
one-point perspective first.

Photograph used for reference

Changing the position of the vanishing point changes how the sides look.

C<Jiumn: When you draw a building, for instance, think about whether you want to see the building from
the right or from the left. If you want to see the building from the right, place the vanishing point
2 in the position shown in the right frame.
 agine you are taking a
: ture. If you stand directly in
~ t of your subject, the
•I

, ishing point is in the middle. 0 ............................ .

~ 1 u move to the right, the I
I
- ishing point moves to the I
I ·.

8~<o6
= as well.
Side view

is taken from the right side of the road. You can see more of the wall on the left side.

e horizon line
re
perspective lines
erge on it
This is taken from the left. You can see more of the right side of the road.
21
 I Simple way to pick a vanishing point I
When you want to draw a
simple building roof or other
objects behind characters, use
one-point perspective. The
vanishing point could be in a
variety of positions, depending
on the diagonal lines of your
outline. Pick a vanishing point
by choosing an angle you like.

Subject
Completed drawing

(Process)
1. Draw outline 2. Draw horizon

Horizon

3. Pick vanishing point

Column: Once you have picked a vanishing

point, draw a rough sketch. Ignore the
other perspective lines of the outline
an d draw all the lines in the direction
of just the one vanishing point.
Regarding background and
perspective, once you get used to this, Vanishing point
you can begin drawing a rough sketch Extend diagonal line of outline.
by first picking a horizon and a The point where it meets the horizon line
vanishing point when drawing the becomes the vanishing point.
outline of the image.
 How to Draw in One-Point Perspective
Let•s Try Drawing while Looking at a Photograph
•• en drawing backgrounds,
~ ·sts often refer to
:- tographs that they have
~ en. Perspective drawing is
:- ~ most efficient way to
uce a good drawing, so
-=. s get comfortable with it.

= a rough drawing
- -=-~ hotograph while t-=oo:+---tr-f-!~~"*"'~~__,..~-+--:1"--v-!H------­
:: the depth lines
__ ings and the

se the road

wing the
_ nd, simplify
:- · parts
- - -- g on your
::: d needs (note
:-= photograph is
-=: • reference ___I

: Horizon and vanishing points - In photographs the vanishing point is often not clear.
It is important that you choose a clear horizon and vanishing point for your drawing.
23
 []] Completed rough sketch

[!] Pen drawing

Start with the foreground.

K~- ~
ake foreground lines bold and lines in the distance thin.
eave windows and other details for last.
Contour
Drawing thin non-contour
lines creates a three-
2 dimensional effect.
 [ID Completion of pen drawing, erasing and applying white-out

Erase completely after finishing the pen drawing.

Correct protruding lines and other anomalies after erasing.

e solid colors if you want to create an overall white drawing

ht feeling.
- ~·· ing is complete. Lightly apply tone to shaded areas.
::..JOut where the light (sun) and shadows are when applying tone.
- , tone is applied under the eaves and to the sides of buildings.

25
 . . ) One-point perspective is short for "one-point
(Drawings suited to one-pomt perspective perspective drawing." This techniq~e is suited
to drawing indoor scenes and creatmg a sense
of depth.

Road (main road and side roads, etc.)

Road with wall and buildings with windows, etc.

26
 ~ oartial depiction) Hallway

ro--...1!!1: of one-point perspective drawing

~nnnhllines are parallel to the horizon.
lines are perpendicular to the horizon.
:iag~ lines expressing depth (width) all come
a point on the horizon.
\:1

Vanishing point

Vanishing point

In a one-point drawing, you can only see the

front of an object when the vanishing point
comes from within the object.
27
( When to use two-point perspective )
Two-point perspective drawing is
a technique suited to creating a -~

:::::: ""'F"
three-dimensional effect or a
demanding presence. Use two-
Dlr~l
~
point perspective drawing when
~-
""'~
~~
there are many building standing :--,
side by side or when you can see §
two sides of buildings. vanishing poin

Office buildings drawn with one-point perspective

~~~
.6~ r-- ---~--- :::::::::~r::::::
--- 1-- ~ 1'-- r::::

~
--- r- r- r--
:::::: r-- r-- r-
'1)
67'1 · · · · · · I-----~- ~000
>.« • •••• • • r-- r-- r- r=: r- it J
r-- I-- .__ 1-- r-- I-- r-- -..;;::::::::::::::::::::::::::,
§;8 I---- 0 ••••
- 1-r--
1--r-
1-- 1-- I-

== r-- r-- I •...•.....•... '

=:::::::::::"'=:::::::::

-=
•
1 - r-- 1-- 1-- I-
I- P8••• - - -
1,..
,.... t---

- f.- ~
f:~
I
- > --==
-
- ~.:
!)
- I\

- --
- [
= l l< ~
Office buildings drawn with two-point perspective

~ Use a long shot when you want to illustrate something with an

~ overall view. Use a close-up when you want to emphasize one part.

vanishing point
~

28
 Chapter 2
Drawing the Outdoors
From Everyday Scenery to
Outer Space
Think of a roof as
being on top of a ~
box. Anybody can ·~
draw a roof as ~
long as yoi.J know ~
the height and
how the eaves
overhang.
~
Vanishing point

House wall

11. De!~rrnineTfue roof, height I

The "center" of the wall

In the case of a square, the point where the two

Draw diagonal lines diagonal lines intersect is the center.

Roof height

De ermining the roof height...

Draw a vertical line from the
center Qf the wall. It can be
whatever length you prefer (the
longer it is, the steeper the angle
of the roof will be).

Corner of wall

Corner of wall • Connect the slanted lines with the wall

corners.
3. How to draw eaves I

The line drawn straight to the

side of the apex of the roof
k this corner and the makes the roof look more
,anishing point and then realistic.
= end the line.

l
Draw line @ parallel to
the slanted line on this
side of the roof.

®
point of intersection of
lines ® and ®.

'
Draw line @ right along
''
the center.
'
' ·' ,'
'
I
' ''
' ,~,
'

,,
,' I' ' ' ' @
I ''
,, r
,' '' ®
, '
''
'

Line ® can be drawn only after the supplementary line ® has been drawn.
31
!4. Making the roof thicker I

Thickness lines are a

right angles to the
slanted lines.
Judge the length wit
your eyes.

Completed roof ~

l=rJ

32 Draw shadows under the eaves.

· u can draw these kinds of roofs with this technique.

- ~ in the samurai house style.

33
Create a vanishing point
for slopes in addition to ')i( ,...:- Slope vanishing point
Drawn incorrectly
the normal vanishing
point on the horizon line.
Buildings are drawn
based on the normal
vanishing point, while
\ /Normal vanishing point
slopes are based on the
slope vanishing point. --------------~------------------
Horizon •

When you draw two vanishing

points vertical to each other,
make sure they are on a
straight vertical line.

Points where vertical

building lines and the road
(slope) intersect. The
extended lines that link
I these points and the
Vanishing point vanishing point become thE
lines for the floors
(foundations) of buildings.
(

Guardrails are located

on the edges of roads,
so their lines converge \
on the slope vanishing
point.
 Uphill slope
vanishing point _
Houses are not built slanted
Building
vanishing
point

,--- . When drawing a house on a slope, it

is important to draw a foundation so
=- hill slope that the house will stand straight up.
=- ing point For downhill slopes, place the downhill Express a slope by the difference
slope vanishing point below the horizon. between the road line and the floor

r£J
: - ea vanishing point for slopes in addition to the normal
line of the building.

- -· hing point.

Vanishing point

Slope vanishing
point

: Characters on slopes - Draw characters above the horizon as if you were looking up at
them and characters below the horizon as if you were looking down on them. 35
 How to Draw Forked Roads
Think of a forked road as an Vanishing point A of a
intersection of two roads with To vanishing point A
straight road
differing vanishing points. Vanishing points 8 and
/~ t
Aerial photograph '
Cof branching roads To vanishing
point 8
To vanishing point

Road 8

'
' ''
''
''
'' '
' ''
'' ''
,' ,' Road A
/
' ''
' /
/ '
Roads 8 and C intersect at a right angle

36
::::; Choose road vanishing points

~ Draw roads from each vanishing point

)( )( )(
B A c
B A c

Road A

The closer the road is to the horizon, the narrower it will look, so
be careful not to make roads B and Ctoo wide.

I
Buildings stand along the road, so
the road vanishing point serves as
the perspective. /

Vanishing point

~/
~ /
/

Roads and vanishing points

Forked and T-shaped roads have their own
vanishing points. Buildings and guardrails
along roads use the same vanishing points as
the roads.
 Drawing Houses -When the Vanishing Point is Far Away
What do you do when the vanishing 1. Add paper
point of the building you want to
draw is located off the paper? There
are three things you can do.
1. Add paper
2. Use a copier
3. Draw guidelines

Attach temporarily -
with masking tape,
etc.

I 2. Use a copier ~
CD Draw a rough sketch in a size that is easy @ Make an enlarged copy
to draw

Do ~-------'

Use a copier to enlarge the rough sketch to

the desired size.

@Trace

Tracing
Tracing is easier if you ose ~a light box.
You will not get a sharp picture if you drawJn
pen and then enlarge. the pen drawing should
be done in the actual size you want.
The completed picture can be pasted to the
manuscript as is or copied in the.same size
and pasted.
Put tracing paper or transparent PPC (copy) paper over the
enlarged rough sketch and draw with pen.
3. Draw guidelin~s-Partition I
nee you have decided on the outer border of
e building, partition the vertical lines.

@ Link each partition point

@ Start drawing using the lines as a guide

n: One trick is to draw the partition lines using yellow or blue colored pencils (yellow and
blue will not show up when printed). It is usually on one side or the other that the
vanishing point becomes so far away that you cannot reach it with a ruler. 39
When drawing a
building, capture
the distinctive
features of the
building.
Draw wide
buildings like a
gymnasium
using two-point
perspective.

@ Find the apex of the arc

CD Give the gymnasium shape @ Draw the roof using an oval template

When giving the gymnasium shape, enclose

the roof portion in a box.

How to align the oval template:

The type of oval you choose depends on your
preferences and the image you have of the roof.
·, the floor and walls big to express the spaciousness and height of the building.

DO

When you draw a scene close to a wall, create the

atmosphere of a gymnasium by including windows
near the floor, protective bars on windows and other
distinctive objects.

~
You can present a wide-open space by putting the
floor lines higher and drawing windows smaller.
41
When drawing backgrounds, the
size of characters is very important.
Here you will learn how to draw a
background from the perspective of
characters.

Sense of distance of
characters standing in
a straight line
Let's try figuring out the vanishing
point and horizon from the wall
drawn behind these characters
standing in a straight line. The three characters are pretty
much in a straight line when se
from above.

Side view

The horizon is the

same height as the
face of Girl A. These
three characters are
-----+...,.....--w-~c.+--·· · - standing in a straight

line, so even if there is

a height difference
between the
characters, the
relationship of the
other two characters is
like that shown in the When viewed from the side, Girl A is the only one that
side view. fits in with the background.
IRevision process I

1. Link the feet of Girl A with the vanishing

point.
2. Since the three characters are standing ir
straight line, move the other two chara
to the same line as Girl A.
42
 Vanishing point
Horizon /
--,characters on the same perspective line
~..., in a straight line.

43
 ( Placing multiple characters - Slide method )
I Characters walking along a straight line •
1Close person
Original person drawn
(first

1. Draw the original character.

2. Choose an appropriate vanishing
point, link it to the character and
Note: All the characters are the same height
draw characters in front of and
behind the original character.

IWhen drawing in front of the original character •

(iiV
You can choose any number
of vanishing points for
placing characters.
Choose a vanishing point near the
original character.
When you want to place characters randomly •

---, * __:::~~~(:,~::~---
·~ t.
--
New vanishing point New vanishing point

Randomly choose
vanishing points
Column: Place multiple characters by slidin one character. You can think of it as placemeQt by
reproduction/movement.
w to draw groups of students going to or coming home from school I
OJ Draw one character
Drawing groups of characters can be quite difficult. If you
don't draw them carefully, characters can look like they
are floating or sinking or they will not fit in with the
background.
Process:
1. Draw a character around which the other characters will
be based.
2. Choose a horizon and vanishing point and draw a rough
sketch of the background.
3. Based on the first character you drew, begin placing all
the other characters from the vanishing point (this is
called the slide method).
4. Lastly, draw the background.
e other characters will be drawn based
the first character.

] ] Draw a rough sketch of the background you []]-A Mark the top of the head and the feet.
want to draw.

Column: It does not matter if the background changes a little Choose a horizon and vanishing point.
later on. When drawing the first character, it is Choose a clear road line.
important to choose the horizon and vanishing
point, which are the core of the picture. 45
[1]-B Joraw characters 'directly in front of and directly behind the first character~
Draw a short horizontal line where you want to
Side view put the character.

The character you •

want to draw

L~ /

View from above

Supplementary line to find the

\ " of the head

- -,!'-- Feet

When you want to draw a character

behind the first character

Column: Standing directly in front of or directly behind is the same as

standing in a straight line. This is called "characters on the
~6
same line."
 -C Randomly place characters View from above

-: you want to place Original character

2:acters like this and not
~ straight line, there are
_ Nays to do it.
0
Where you want to
lace new character
Vanishing point
ftB
Camera

How to randomly place characters

-;: er on this line will be 1. Draw by just sliding backward and forward
-.= with the original :-\ 2. Combination of sliding to the side and ·
:::Br in relation to the road. \ backward and forward.

<D Sliding backward and forward-Draw @ Parallel translation and sliding backward
placement vanishing point and forward-On the basis of dummy
Dummy
Draw a placement vanishing point a - -0
little to the left of the original
/ vanishing point.

. ~
Slide the original character into a
Sliding from the new vanishing point parallel position (height is the same).

t
Placement
vanishing
point

Put a placement vanishing point

near the dummy.

Slide from the dummy.

47
 '·

-=i-7"#f'~~-·:r·

~"----- - (

Column: For scenes of students going to school, place blocks of two or three students walking side by side anc
place a single student behind, in front of or beside them .
48
.n: When there are many characters in the foreground, pen in the characters before sketching the
background and painting .
49
 r-::---:----:---:---;-;;-;----;-;-;~~---=-=--=-------=~:-~~--:-::;==::-=::ll Ahuman head is about 30 em
I How to create height differences - Raising and lowering the head I (11.81 in.). Use a height of 160 cr
All the charac ters w1·11 be (5.25 ft.) .
the same height if you just
slide backward and
forward and use parallel
sliding . When you want to
express height differences,
+15 em
do so by raising and (+5.91 i"
lowering the head, leaving - l--+-?~-t--1~~-
the feet as they are.

2/3 head longer

Height about 18:

All characters are the same h/ ight

160 em
\ f Ocm
~} /
160 em

180 em = 5.90 ft.

160 em = 5.25 ft.
150 em = 4.92 ft.
130 em = 4.27 ft.

Not good Good

· ing and lowering the feet make a

aracter float or sink.
Column: Give each person in a crowd a different direction and
different clothes to make a picture come alive.
:m n easier way to draw crowds
:-aw various sized heads on the horizon
3. Then draw the bodies using the heads Draw various sized heads
~- a measure of each person's height.

Cut with rough image of background

t
in.

/ Draw outline of bodies

Relationship between human head and

body
This is generally called the "head-to-body
ratio."
Example: The height of a person with a
head-to-body ratio of 1:6 is six times the
length of the head.

: This technique is perfect for scenes with a close-up of a face in the foreground and many people in the background.
 I Drawing the entire body beginning with the head I
Measure the length of
the head and multi pi v--+---'tl~t-----lrnk"-tNt-----1:1~---r­
to get the total length
of the character.
Multiply by five if the
head-to-body ratio is
1:5 and multiply by six
ax6
if the head-to-body \
ratio is 1:6.

ir
····· n
· ·-_-~
! !
cx6

j I
i i
!......... .......J

Length of head
Reference: In the case of a head-to-body ratio of 1:6
Note: Always multiply the head length by the same
number for all characters.
All are multiplied by different number. In this drawing, heights were determined using the
same head-to-body ratio before individual differences
in head-to-body ratio were added.

7 fold
Not good

After the All are multiplied by five .

total length Good
has been
determined,
balance the
characters
to taste .

Head-to-body ratio of 1:5

Head-to-body ratio of 1:6

 :..ackgrounds for bust shots of characters I
- ~ drawing backgrounds for bust shots of characters, draw the Theme Sidewalk, building and entrance on·the
~ body of the character even if it won't all appear in the right, guardrail on the left
e.
--= ~e ight of the building door and guardrail should be drawn in
ion to the height of the character.

Vanishing point

Rough image

Drawing building on right

Determining height of building door

Perspecti~n~
representing
the edge of the building

-
Slide character horizontally (draw
> dummy)

Perspective line ®
indicating height
of door (2m)

I Dummy

}j§J
_- ron ize the 1--------~------
Building door = 2 m(6.56 ft.)
Character (adult male) = 1.8 m(5.90 ft.)
-= t the
The height of the door is about one head higher than the character.

Column: Synchronize the scale of the character and the background . When drawing the
- : -~.racter background, clearly show how high background parts are above the ground. When you
; a dummy. try to do it by eye, you end up with doors that are too big or houses that are to small
in relation to the character.
 Horizon line
Drawing guardrail 1
Determming height of guardrail '
G) Slide the character to the edge of the
sidewalk. p-: \
---- ---- \ YQ_l-
\
About 80 em
(31.5 in.)

~
J
The height of the guardrail is a little above @ Draw a supplementary line horizontally @You get the right guardrail heig·
the thighs at a little above thigh height. in relation to the size of the
character.
Drawing guardrail 2
Guardrail poles at even intervals
G) Determine the positions of the first two poles @ Draw a supplementary line. @ Determine the position of
the third pole.

i ;nleNal between
guardrail poles is uniform.
You are free to choose any
interval.
Divide at 1/2 the height
Supplementary line in
direction of vanishing point.
1/2 supplementary

® Determine positions
of remaining poles.

Guardrail structure
Pole-to-rail ratio is about 1:1

Pole portion

54
~\ -
. \
I

55
 ICreating Eff~ct§:;,byxChanging the.Composition -of a Picture
Do not use perspective drawing
indiscriminately when drawing A
long shots of buildings and
upward and downward views,
etc. Simple ideas can create
large effects.

Drawing upward views

Vertical two-point perspective

When drawing an upward view,

assume the location from the
placement of buildings in a
rough sketch. The technique
you will use is vertical two-
point perspective.

Rough sketch

Cut based on proposal 2

Visible building surfaces

Character
1--r----..0
+
Location proposal 2

~
D E I F I
Character Street

8 ~r-
A
~
Camera
c
56
 Generally, in one-point perspective and
I two-point perspective two-point perspective drawings the
Vanishing point for vanishing point is always placed on the
- ..anishing point: Emphasizes distance in the
emphasizing distance in
upward direction. horizon and objects are composed of lines
the upward direction
-::vanishing point: Emphasizes depth of perpendicular to the horizon. In vertical
buildings, etc.
- As was the case with drawing slopes, draw
vanishing points on the same vertical line.
I two-point perspective, the vanishing points
are placed near the top and bottom of the
picture.

''
I

ll
. I
I
I
I
I I
\\ "'
!

" 0 .-1~· ,....,

two-point
_pective for powerful
ard views.

I
I

place vanishing points line in vertical ,.,..

-:ames normal two-point perspective
two-point perspective drawing? Because you are stopping and
ren picture is placed on its side
looking up and down at the same time.
~ Three-point perspective drawing )
- • o-point perspective is a technique for creating a cubic effect by giving a sense of
:: ance to the left and right of a picture.
- th ree-point perspective, a third vanishing point is added to give a sense of
- ~ta nce to height. Unlike one-point and two-point perspectives, the usual vertical
:..-d parallel lines are not present. In addition, the horizon line and vertical lines
-.ersect perpendicularly.

Two-point perspective

Three-point
perspective

(j3i)
Three-point perspective
allows you to draw
powerful pictures.
Aerial view of scenery
Bird's-eye view

When drawing a bird's-eye

view and the horizon is not
visible, there is no perspective
(vanishing point). Draw
buildings parallel lengthwise
and crosswise.

~
Do not think too much
about perspective in
bird's-eye view pictures.

Skyscrapers

Place
vanishing
i- point below.

Roofs of buildings seen from bird's-eye view

• Draw building roofs squares parallel lengthwise
and crosswise.
• Do not think of perspective in the normal sense
of the word.
• To emphasize height, draw using one-point
perspective from below.
 :. ::
When drawing a bird's-eye view and the
horizon is visible , use one-point perspective.

Column: When drawing a bird's-eye view of scenery using one-point perspective, freely place the vanishing point
in accordance with the objective of the picture or the composition. 61
 Making a group of buildings in the distance look cool I
When drawing a group of buildings in the distance, reduce the
of the build

II IIII I
II I I I I I
111111 1
IIIII II

Reducing the depth of buildings is effective when the main subject is in the foreground and the buildings are
used for pure scenery in the background.

Reference: Town in the distance

Distant view
This composition is often used for depicting a town on the edge
of a wasteland in fantasy, science fiction and other manga.
This technique is used to make it look like something was
- med from far away. Note that fundamentally the farther away
If you give buildings too much depth, yo.
object is the less thick it will ~e.~ ··
will lose the sense of distance.
 Application: Reducing depth of buildings
When drawing a line of buildings using one-point perspective,
making the width (depth) of buildings narrower eliminates the
cramped feeling.

Draw objects far away with thin lines. For lines that
run into characters, draw them thin as if they fade
away and do not make contact with the character.

There is a big difference even then the frames are the same
size and the vanishing points are in the same position.
~--------------------------~
Buildings drawn with reduced width

~ Vanishing point

Column: When you want to avoid drawing a confusing group of buildings in a long, narrow frame, draw buildings
as if they were in the distance using narrow depth lines.
I Perspective when the ground is curved l
Distorted ground
used for dramatic
presentation can
be used in a
picture where you
are looking up
from a low place.
Place the
vanishing point in
the middle directly
above the picture.

IGroup of buildings - When drawing using vertical two-point perspective I

View from above

The am ount of distortion of the

curved surface depends on
i dividual sensitivity. Draw freely.
the case of a group of buildings,
~se vertical two-point perspective.
 ________________........
Let•s Draw Outer Space I
Nhen depicting outer space in manga, compose pictures
n a way that creates a sense of distance.

· . Part of a large planet in the

foreground
: . Many small stars in the
distance
~ In the middle, place planets
that are just big enough for
you to can discern their
atterns.

Splatter white correction fluid for the dots representing very small stars.

Dots will be large if you do

ow to splatter correction fluid it away from the paper.

Dots will be
0 c?' small if you do
0 it close to the
tf paper.
@ Done
0
J) Put oil-based correction fluid on tip of pen @ Flick with brush

Column: Correction fluid will splatter in the general vicinity, so put tape around
the manuscript and frame to mask them. 65
Making planets realistic

Use a template for

planet circles.

O o8
Oo
0 '
'.
. '

O oo
o2
oog
oog
0 o:
0~ Give planets a touch of color and apply tone to make them round
Representation of
outer space
oo: and to make them look heavy.

Present the depth and

mysteriousness of outer
space using special tone
patterns and applying layers
of tone.
 Chapter 3
Distance of Natural
Obiecls
Tree-Lined Roads/Light and ShacloV#/Sky
 How to Draw Trees Roadside trees/Tree-lined roads/Shrubbery I
I Drawing roadside trees l
To draw roadside trees
planted at even
intervals, choose the
positions of the first and
second trees and use
the technique to an even Side view
interval. Think of tree
trunks as poles.
CD Draw one tree @ Draw supplementary ® Choose interval
j\ line.
j ·~1

"
>

Draw vanishing
point and Mark the spot
Place on sidewalk slightly supplementary where you want to
· away from road line. lines connecting it plant the next
with tip of the tree tree.
and the base.

® Turn into trees.

}
'·~ (

~
@ Determine where to plant the
rest of the trees.

Draw trees by fleshing out

the poles.

Column: When drawing roadside trees and tree-lined roads, first clearly sketch the road
and sidewalk. (Needless to say, you need a vanishing point and horizon .)
 raw a line of trees on
@ Draw a perspective line /'\
:: e side of the tree-
ed road and slide it to ;:~~c~: trees will (' ! \
t:~
.. e opposite side.
:::: Draw a line of
Perspective line where
trees will bzPiaced_ /
' - -
"--l T.r
- ) -
'// ', h
/ / . ~ Perspective line for road
' I

® Slide to the opposite side.

""-, ~
- - ------"<::-4::\
he trick is to raise vertical lines from the
/
"
erspective line where trees will be placed.
Column: This technique can also be used for drawing opposing doors in condominiums
and hotels and opposing windows on trains. 69
 Drawing shrubbery
Shrubbery can be round
or square. It is best to
simplify it.

Square type Round type

DODD 000

Like tree-lined roads, round shrubbery is

often planted at even intervals.

~ Light

~ · When drawing trees and

shrubbery, think about how
light is hitting them.

A tree consists of leaves and a trunk.

There is no need to draw everything. In the case of both trunks and
leaves, do not draw the parts with light hitting them.
Think about the direction of the light and draw the shadowed parts.
Give the trunk the feel of a trunk and leaves the feel of a leaf.
0
 eference - Leaves of roadside trees I

~- ese parasol/Maple

Sycamore

Cherry/Zelkova

Chinaberry/False acacia
Example: Roadside trees drawn close together

Example: Roadside trees drawn far apart

71
 How to Draw Shatlows ,I
elf the following Shining from directly above:
ns when drawing Shadow is short (around noon).
: -E o s. "What is the light Shadows could be various
-=-· e? " "What direction is shapes depending on the
t coming from?" shape of the ground and the
presentation.
Sunlight ·. ' , · Shining from an angle:
Shadow is somewhat long.

· g or evening:
• w is long.
- ~ _.. er the sun is, the
~~- :he shadow will be.

.. Evening sun --..The lengths of shadows

:f:J:- Morning sun ~@ -... created by sunlight are
""' ~different depending on the
It,'

time of day.
East West When drawing shadows in
6:00 manga, choose the length
18:00
and direction of shadows
North 8:00
16:00 14:00 10:00 by thinking about what
12:00
time of the day it is.

Shadows
below eaves

Sunbeams and shadows

\ \
Shadows are long in the
oming and evening.
Shadows are dark in the 0 '
mmer - Make them
solid.
s are weak in spring and
.... . so shadows are also
;--: - Use tone and
~ -::! aJ lines.
Shadows are in line with the rays
of the sun reach of the sun.
as parallel lines.
 Shadows formed by small objects
Light from streetlights and indoor lights I
::>erspective is /l"'-
sed for

~i~~
hadows created
y artificial light.
:>lace the When light source
lanishing point above, shadow is short.
the center of a
reetlight and
etermine the
~ ape of the
Light Light
s adow by
.:onnecting it
'lith the object When light source is above and
_ei ng lit. to the side, shadow is long.

Shadow formed by
florescent light is faint.
~. .,
When there are two sources of light,
two shadows appear.

The candle is emitting light in all

directions. Shadows are formed in
perspective to the center of the flame.
The shadows are faint since the light
itself is not very bright.

73
 Effective Use of Backgrounds - Basic concepts and techniques

At the heart of this

matter is how to
pl ace objects. Draw
objects in the
foreground bigger
and objects in the
background smaller,
and place mid-size
objects between
them.

Background techniques
• Pen and tone basics
Lines: Draw objects in the foreground with bold
lines and objects in the background with
thin lines.
Tone: Use darker tones in the foreground and
lighter tones as the distance increases.
For rain in
buildings and shadows in
a free-hand using short I I
lines.

Technique for solid parts

Gradate parts in the distance.

Use slanted lines Add rain lines using
drawn free hand . white correction fluid
Draw trees and other objects using on solid parts.
slanted lines.
 Rivers
Draw rivers using the
Vanishing point . Vanishing point Vanishing point
techniques for drawing ·· · · · · Honzon ·
Horizon
roads. Choose a
vanishing point and
draw free hand.

Normal river Use two vanishing points for

(use technique for straight road) meandering river.

---r l

Technique for river surface

'r.-.. Add touches with pen in

accordance with the
direction and strength of I
e current.
 Clouds 1.
Jepending on the clouds, keep perspective in mind when drawing them.

Perspective and natural objects

You can use the concept of perspective without alteration
for drawing rivers, mountains and other foreground
objects that move off into the distance.
Basically, perspective can be used to draw any object
with a sense of distance or any object you want to give a
sense of distance.

77
Various techniques for drawing clouds

Cumulonimbus Cirrocumulus
Blur by cutting out, erasing with Use the back of a cutter.
a sand eraser and shaving.

Setting sun Apply layers of tone and shave.

18
 Chapter 4
Drawing Indoor Scenes
HalhNays/Stairs/Small Obiects

'-
~

~'\
 How to Make a Narrow Hallway Look Wide
There are two ways to make a hallway in a
I
narrow frame look wide. CD Draw using irregular two-point perspective.

Hallway drawn using regular

one-point perspective

@ Widen hallway

Irregular two~point perspective

Method that uses two vanishing points to draw
. something normally drawn in one-point perspective (one
vanishing point).
In this instance, you place separate vanishing points for
the left and right walls. .. .
Vanishing point for right wall Vanishing point for left wall ·
Method to
widen hallway

a
irregular two-point
ective when the
o the hallway is
ed d e to the setting.
 Irregular two-point perspective: 1. Distance between two points
-he farther apart the two points are, the wider the space will be.

Narrow space Wide space

When you
The two points are The two points are close together. The two points are far apart.
reverse the
close toget er.
points the
walls are
drawn from, it
becomes
"
+------++-+t----1 narrower than +-----+--,,-,- t - - - - 1 1 ---''-;'~t---~~--1
one-point \
perspective ,
(when the two
points are
close
together).

Draw the right wall from The closer the two points are, the
-
•
the right point and the closer it will be to one-point
left wall from the left perspective.
point.

81
 Irregular two-point p~rsp~cfive: 2. Background
Irregular two-point perspective is a technique used to emphasize
buildings in the foreground.
Use this technique when drawing dead ends and T-shaped junctions.

• This technique is often used for drawing

the background when you want to put the
character in the center.
• When drawing scenery alone, buildings
should end before and after the vanishing
points. (unique to this technique)
Example: Dead ends, three-forked roads,
insides of cars and airplanes, etc., that
serve as a background to characters.
• When using this technique forT-shaped
junctions, draw a wall or house directly
ahead (on the horizon).

Example: T-shaped junction

~Irregular two-point perspective comes in handy when you

~ want to make a narrow space (hallway, etc.) look wide or
make a scene in a narrow frame look wide.
82
83
A character sitting at a desk in class. First
imagine the composition you want and
draw a rough sketch.

View from above

Rough sketch
Find the vanishing point from the shoulder line
of the character and the desk line.

Shoulder line

·--- -

· The horizon is determined after the vanishing point A character sitting at a desk.
has been determined. The character, chair and desk are
After finding the vanishing point, draw a line directly to the side. usually parallel to each other.
Horizon

Vanishing
point

Not drawn in perspective

 may dra ~ round comers free hand, ~
but they will look sharper if you use an You should also draw the parts that will not
oval template. be visible.

. I

--.:

I
The height of the
chair is about
half that of the
desk.

----r-
::J_-~\
Draw straight Legs angle out Side view
from around this slightly.
point. 85
( Common chair/desk composition and the horizon )

86
 I
I
!

-~\Horizon
~ II \

(' 'l
/I (, \
'l
\

~ /j ' ,-, ~
I

~
1- \ JJ
I
I
i _1. \
•l
~l'i
I
I; I

\
-

'v1
f

I J j
A
\
I

I\\
~ \ ( \\
\ \
I
 "' Distance Between Characters and Walls I
The distance
between a
character and a
wall is represented
by the relationship
between the
position of the
character's feet
and that of the
floor line. Away from wall

88
 ways to create sense of distance'between characters and walls

Indicate the presence of a wall by drawing a shadow.

Jraw a line separating the ceiling and walls.

Give the wall a sense of presence by

drawing shadows on both the floor and wall.

Jraw a window or bookshelf behind a character.

~ Use shadows and the room layout to create a
~ sense of distance between characters and walls.
89
 ~ How to Draw Indoor Scenes {Living room) I
When you want to draw a room
with a person sitting on the couch Room plan
You are standing
watching TV as seen from one wall,
here with camera + - - - - - - - ~The
start by drawing an outline of the
in hand. ~ camera r--
room. Ceiling height ! angle is -~
Draw the opposite wall and draw a - oem -_- :_ ~----f ~~~~~
240 27
! eye level. I
l
door, the ceiling, the floor and walls

B Lf}
l TV stand
on either side.
Then draw furniture and the person. - \0--
-cr:l~
160 em
150 em I Table !
BOem I I

~uchl l
Side view ~
Relationship between person, '-.Start by drawing
camera and ceiling this wall
270 em = 8.86 ft.
240 em = 7.87 ft.
160 em = 5.25 ft.
150 em = 4.92 ft.
11. Drawing the opposite wall I 80 em = 2.63 ft.

<D Draw shape of wall. ., -----; -- - - -- - ----

'
Horiz~n
'
' r
' ' 150 em
-
Draw wall lines from four corners.

@ Draw door so it
looks natural relative
to the ceiling. • The room may be any width you choose.
• Since the view is that of a standing person, draw the horizon at about 150 em.
Placing the vanishing point a little to the left or right of center will make the
picture look better.
• The ceiling, floor and sidewalls are drawn using lines coming from the vanishing
point and passing through the corners.
• Draw a perspective line on the left and right walls that are the same height as
@ Determine horizon the door.
and vanishing point
Column: The perspective line that is the same height as the door acts as a guide for
based on the height of
determining the height of furniture. Drawing a perspective line with a distinct
the door.
height is the key to drawing backgrounds in both indoor and outdoor pictures.
90
12. Drawing a rough sketch l

:-aw the interior on the basis of the plan.

91
 CD Draw a projection.
3. Drawin a couch

80 em= 31.5 in.

40 em= 15.75 in.
25 em = 9.84 in.
15 em= 5.90 in.
CV Draw thickness. @ Draw shape.

Vanishing point Horizon

BO em

Create the overall shape of

the couch by connecting the
Determine the height of the couch
vanishing point and the top
based on the 150-cm wall line (same as
of each vertical line.
height of horizon in this drawing).
Determi~
I

Horizon
t
150 em

150 em = 59.06 in.

80 em = 31.5 in. Make corners and edges
70 em= 27.56 in. round to make it look like a
couch.

92
 ::: J a v a projection .

"'-.
Vanishing point

I Determine height.
Size of table

80 em= 31.5 in.

the table against the wall, 40 em= 15.75 in.
::: ermine the height of the table
"-:lm the height of the couch .

--~
, .\-. Slisquare
·d
.e and draw-a . -
box.
- 1
@ Draw shape. @Add thickness.
'. \
\
I·~- ----
1' '·. '

\,
\,
\

When drawing the legs, also draw

the portions that will not be visible.
93
 5. Drawing a TV stand 1 Like the couch and table, start by
'---~~----....... drawing a projection.

Determine the thickness and

width in relation to the couch
drawn earlier (they do not
have to be as exact as the
depth and height).

~ -----------~

Looking at the floor plan, draw it in

line with the table, for instance.
Completed drawing

Column:Draw indoor scenes using one-point perspective. (Two-point perspective is not used very often.)
94
 ~*, Drawing ' Small~ Indoor Objects

Small objects on Do not show this portion.

tables and desks - 1
Jrawing without using ~ )
erspective
- a scene where one side (or
~ .o corners) of a table is not
ible, draw without using
: =- pective.
Show this part of the table.
Small objects on
tab Ies and desks - 2 ~-------...---.---,----r---nr--:-rr---~-""Tlr11---n--n
Drawing using perspective
____...,
(\=----====-.:1-
~
0 0 0 0

0 0 0 0

L
l~~~~~------------rm----~-----r-
__/ u
___/

I
I
:·:,}
I'.< :;<< >< >> <>} < } > { {{
Tables and perspectiv~ ,, : I<<< <> :::. :::::. < >>
}
<< }{
• The top of the desk farthest away will look wide if < << < z
perspective is not use~ io draw objects on a table I> :: :::::::: .
::::::: <
"
ij~~
when the edges of the table are visible.
• Perspective is not needed when all the edges z'""'' ;;;.;.;7
"'"'
are not visible. ! <~ << <J
I
o
)> :'iii F .\o I

""'-
Use perspective for drawing objects
when the edges of the table or desk are
visible.

Small objects on a table drawn using one-
point perspective each have their own
vanishing point on the horizon line (they all
share the same horizon line).
96
Tables are often drawn using one-point
perspective, but objects on a table seldom use
the same vanishing point as the table.
 How to draw cups
Circles on tables

Incorrectly drawn
• When the top of the table and the horizon line
are close, use an oval that looks like this.

~ Thin ovals look like c=:> are often used for l~ng shots.
~ Long shots are used for explanatory scenes w1th
almost the entire body of a character and background.
Incorrectly drawn

97
When the top of the table and the horizon line are far apart,
use an oval that looks like0.

Horizon

The farther away the circle is from the horizon

Ovals that are almost circles are often used line, the closer it becomes to being a perfect
for close-ups. Close-ups are used when you circle.
want to make a strong impression or you
want to magnify something.
Draw the bottom oval of
cans, etc., round.

Horizon

1----.--r--Horizon-

98
Drawing small objects When drawing small objects made up of squares, simply
Using cellular phones as an example draw all vertical and horizontal lines parallel to each other.

Drawn using one-point Drawn using two-point

perspective perspective

= =

.----------------------------------------------------------------------------------------------, '

:<:I>
I

The shapes of small objects will not look

good if the vanishing point is not pretty far
away.

I
/
/
I

Use one-point perspective when perspective is

used from the standpoint of presentation.
99
You do not normally think very much about
Drawing Beds I
perspective when drawing beds. When
drawing a character sleeping on a bed,
think of the cubic effect of the person's

' . l (~
I f/ I
~/
Build a simple model when it is difficult to
come up with the cubic effect of the
mattress and person.

A doll made with a marble,

ballpoint pens and an eraser was
laid down on a handkerchief
mattress. Tissue paper was used
for the covers.

Column: Use perspective when you want to create an impressive effect.

100
 • 1

• legs

- egs Round leg Square leg

101
When drawing open doors, place separate
vanishing points for the frame and the
door.

IStructure ofrdoors.l

When viewed from above,

draw a circle with the axis
as the cent% ,

EB 1. Draw a character. ,
The doorknob is in the center.

The doorknob is Draw a dot about pne~head lengthtb the

on the left. side of tht!'character's feet.
3. The flOor line is formed by connecting the 11~
dbfanq th~ 'vanishing point. (You get a Ceiling line
.,, character standing near a door.)
'4. Slide 'tfie ~haracter and determine the
door
·height of· the from the height of the
cnaracter. . m . .

E' s.oewrmine.the height ot the cemngJrom

" the heightof the door. .. ...
6~ Draw the' ceiling ljne fromlf1e vanishing
point. = 11.
'" t• Determine the width ofthe door

Ceiling height
The doorknob is
240 em
on the right.

Door height
180 em
240 em= 7.87 ft.
180 em = 5.90 ft. Character height
160 em = 5.25 ft. 160 em
80 em = 2.63 ft.

Determining door width

• Start drawing the width of the door
from the side with the doorknob.
• Make the width of a door drawn in
perspective slightly narrow.
J '\.
Column:Make the distance between the top of the door and the ceiling
about 80 em, which is about half the height of the character.
Opening doors CD Draw the door as seen from
straight on.
Height
) \\
Make the width half the length
of the height and draw the door
as seen from straight on.
\
@ Draw the door open at 180°
angle.
I
I
.I
No matter what the perspective
of the door you want to draw
is, make it look like this when
you draw an open door.

® Open the door.

® Draw an oval (locus of door).
7 ""-.
Door vanishing point
- I

Draw the bottom door line _ _ _ __

Draw an oval that passes through the indicating how far the door is
apexes representing the corner of the open.
door. (The oval path the door travels
when opened.)

® You get an open

door drawn in
perspective.

oar
.anishing
ooint
 Examples of open doors

Door vanishing
~inL

Horlzoo T
Vanishing point
of open door

Vanishing point
of open door ' \

The door
vanishing
point is far
away.

Door
1 ----- vanishing
point
 "'. Drawing Stairs
Vanishing point for
I
determining inclination
1

/ . of stairs

Move the
vanishing point
o the left when

\
Normal
vanishing
point
\

G) Draw supplementary line for inclination. Inclination vanishing point

Like slopes, draw

1 To inclination vanishing point

@ Draw width.
stairs using two
vanishing points.
(The normal eye-
level vanishing point
and a vanishing
point for
CD-3 determining the
~ Determine step height.
inclination of the
stairs.)

I Step height
@-2
Vanishing point

:ID Draw a upplementary line for determining step width. CD- 1

1 To inclination vanishing point

~ Stairs are drawn in one-point perspective using

~ two vanishing points and two supplementary lines.
105
 /

Vanishing point
(eye-level
vanishing point)

",~' "

'" - - --- - Horizon

• Always draw the width line

from the eye-level vanishing
point.
• Draw the parts that will not
visible as well.

.·..
..···········
.....··,____ '!(
........... .........
. .·
..····.·
...
...•·.
1, ....

.•..···· .... ,,, .....

..· ', .......
....···· .. .··

...····
... . ·._
.><--
"""
--- ------
..··· ...··
.......·
-~.>~-~- - - --- -------------
.
...
.......
.....
.·
.···
. ..····
.....:-.
..
_____ _
_./
......

6
 - - - Vanishing point for creating
inclination of stairs
oking down a flight of stairs
of there being
- -orizon when you
:. ..· stairs from the
king down.
: :. • them using
:-:Gal two-point
.,. - _:Jective.
/

I /
/

- mn: You cannot see the horizon in a picture looking down a flight of stairs because of the
composition of the picture.
107
 When drawing a side
view of stairs, there is no
need for an inclination
vanishing point. Just pay
attention to the eye-level
vanishing point and
horizon.

The angle of inclination of the handrail

and that of the stairs are the same.

I Distinguishing features of stairs: VieWtllQ location and appearance ~ Difference in appearance depending
on viewing location in relation to
Difference in appearance depending horizon
on viewing location in relation to Right of vanishing point
vanishing point
Left of
vanishing point

Below horizon

Below horizon
Left of vanishing point • Can see upper surface
• Can see width of steps
 Chapter 5
HowtoDraw
Backgrounds
Learning by Doing ·
 Pr~cess ,~of ~Diawing Manga,Backgrounds ;;f
I
Let's say you have a name and a character for your manga.
All that is left to do is draw the backgrounds.
Let's take a look at the actual process of drawing manga
backgrounds using perspective.

Draw town scene here

(residential area).

Proposal draft
('neemu' in Japanese)

'--------------~ Draw school here.

~-----J
11 0
 I Drawing a residential area l
e case of manga, you .,...-~--...,.,...,.--..

~ ally draw the frame at the

_: er left or the top row first.
-- helps keep the page from
; :::. ·ng messy.

Reference photograph

_ etermine horizon and vanishing point.

- - -----'1:-- -·-·---i Horizon - - --1

Vanishing point

: Draw road.

lumn: When drawing, mask the frames you are not working on with paper to keep them as
clean as possible. 111
 @ Draw buildings on the left.

Determine the height of the show window

l I
and other buildings by sliding the
character over.

:::::::::::j /
Raise the character to the level of the
sidewalk.

240 em = 7.87 ft. 200 em

190 em ,t -r--""'--- - 220 em
220 em = 7.22 ft. 180 em -
200 em = 6.56 ft. 160 em
190 em = 6.23 ft.
180 em = 5.90 ft.
160 em = 5.25 ft.

Think of the street entrance of the building as being 2 meters high

and the show window as being 2.4 meters high. Use the
character as a guide when determining the size of the building, The height of the show window is
i.e., the height of the character plus number of heads. between 200 and 240 em

112
® Draw buildings on the right

--·---- - - - -..

Slide the character to the right and determine the height of

Standard character sizes the vending machine, which will be used as the basis for
.\dult males: 175 em drawing the building .
.\dult females: 160 em
Children: About half the size of
adults (80 - 100 em)

When there is a sidewalk, raise

the dummy to the level of the
180 em
sidewalk.

~ When drawing backgrounds, j

~ characters act as a kind of scale.

180 em= 5.90 ft.

175 em= 5.74 ft.
160 em = 5.25 ft.
100 em = 3.28 ft.
80 em = 2.63 ft.

- ~ Comparison of character and

~ vending machine
 Reference photograph

Next is a school. There

will be no character in the
scene, but start by
drawing the foundation
and a dummy character.

G) Draw a character next to the school and determine the

horizon and vanishing point.

G)-1 Draw horizon at eye level

(middle of ground-floor window).
G)-2 Extend sloping line in rough sketch to
get vanishing point (point of intersection
with horizon line).

300 em = 9.84 ft.

280 em= 9.19 ft.
180 em= 5.90 ft.
160 em = 5.25 ft.
120 em = 3.94 ft.
100 em = 3.28 ft.
90 em = 2.95 ft.

Vanishing point

... ___

I
280- 300 em

Even if it will not appear in the

picture, clearly draw the surface
where the character and the
Comparison of ground
school come into contact to
floor and characters
make sure they are balance9
114 correctly.
 @ Draw contour

@-1 Determine each floor by dividing

into four parts.

j . I Divide into four parts starting

The eaves, Window and wall ratios of
schools and other buildings are the
same for each floor.
Side view
from the first-floor contact
surface that is not visible.
 ® Draw windows.

Clearly draw the overall window

border (including parts not
visible).

@-1 Find center

by drawing
diagonal
lines.

@-2 Divide into __.·,

two parts. _. _. ...- /
Draw remaining I
I

windows. I
I

I
I

f
I

@-3 Draw ,_.

1

supplemen / ~
--r
I

The depth ratio of tary lines.

windows is the same
for every floor as long
as the perspective is
not from above. Thus,
for the remaining
windows all you have
to do is extend the
r-------- ® -4 Divide
window lines from
each into
another floor.
two (to
divide
window
into four).
11 6
 Do not bring background lines
~ Tape a thumbtack over the into contact with characters.
~ vanishing point.

~
~
Masking tape

Thumbtack

~~~~~-~~
~ /_;;/
.:r awing lines in the direction of the
-· g point, tape a thumbtack over the
- g point. Using a ruler with the
:tack as the axis makes it easier to draw
gh sketches and in pen.
117
 Incorrect

Correct

Omit intricate parts. Represent

them by making use of shadows.

Not joining the edge line to the

corner better creates the mood of
a building.
118
 ft touch: Use little tone.

- d touch: Apply tone discriminatingly.

Scrape uniform curve using

Think of perspective when blade tip of cutter.
determining tone cut.
119
 The page is complete
after you have finished
adding detailed tone!

Soft touch: Use little tone.

120 Hard touch: Apply tone discriminatingly.

121
( Comparison of Characters and Objects )
. I
Objects that you see around yourself
every day can all be used in your 270 - - - - - - - - - - Ceiling line
drawings. It will be very helpful when
drawing manga if you know the size 240
of objects around you. Remember
the size of objects relative to the size
210
of human beings (yourself).

~ !~ _ r.=======;'l ______________________________________ Indoors~·

150 .. .
l 1· _____ _

120

90 0

60

30

Average adult male Average adult female Desk Mirror

180 em 160 em 70- 80 em

330 (1 0.83 ft.)

300 (9.84 ft.)

qq IOutdoors I q

•=
·--·----·------·-------· - -·- ·F==============--
Height of first-floor
About 3m
270 (8.86 ft.)

---
240 (7.87 ft.)

21 0 (6.89 ft.) ~···

180 (5.90 ft.)

150 (4.92 ft.)

120 (3.94 ft.)

0
90 (2.95 ft.)

~7ft.)

30 (0.98 ft.)

122
 One interval = 30 em
(about one character head)

c=J 210rem jfll

..

-LJ ---
.. ..

---------------------------------------------
.................... ········
. .

135 em (4.43 ft.)

................................. ... ..... . ...
--
i!J v
. c=J .............
~n

• •1 LJ
c=J
D ~ D
D
.. .. ..
i I\\
..

D
I
....

D
Chest of drawers
90 em

l Mattress height
30-40 em

· ····················· · ··················· ·· ······· o~a; ······························

.... Lowtra~icsignsandsignals 0 / · · · · · · ~
•. .. ~~s~~~~:::: b~~·:,\:~~1~)4a~d) ~
or. . more.
···· 1

..... . ......... . . . . . .... ... .. ... . .. .... . ... •·-····· - ····· · · . .. . . . . . . . . . . . . . ;

..

0
------------------------------------
] ---- --·t r-
. .. . .. .... .
Kltl @I ~ rr:f IFvl
= ljqfO! ~ ~r=l~
Sod~
0
E:l
0
- J 00 f4f4 PI61B ~
.. ~-

ITT lillil EIS ~ ~

;...

\ I _u -:

t ~~}Eall
[g)
_:::J J I c:J J
_/
__. II 111
............. II -
111111111111111111111111111111111
1 l ~

Guardrail ~

123
( Reflections )
Adding reflection tone to windowpanes creates
a more realistic atmosphere.

Shadow from opposite building

24
 Chapter 6
Special Effecls and
Charader Representation
Using Perspeclive
 ------------------------------- - - -

Drawing Special Effect Lines and Sound Words Using Perspective

Use of perspective
is not limited to
v

-?!~~~
buildings and
-
backgrounds. It can ~;;;;;;~~~~
be used for L
anything that is
part of a picture.
That includes
special effect lines
The sword in this picture was drawn in
and sound words. Side Front
perspective, but the sound word and special
effect lines were not.

The special effect lines (concentration lines) were drawn

from the sword's vanishing point.

• Special effect lines

when the vanishing
point is in the picture
• Draw them toward the
vanishing point.
This sword was drawn with a vanishing point farther away and
the special effect lines were drawn accordingly.

• Special effect lines

when the vanishing
point is outside the
picture
• Draw them away from
the vanishing' point.
26
 e of the contour lines of this sword were represented by
ted lines pointed in the direction of the vanishing point.

KA-BOOM
 Special effect lines when the vanishing point is
I· How to draw sound words with perspective in mind •~ outside the picture.
Draw them away from the vanishing point.

/
/

./
r"..l 0 -

(~~~- , __
VROOOM

Design the word. Draw vertical lines

in general direction of vanishing
point.

: Sound words do not have to be drawn perfectly in perspective.

Draw them in a deformed, perspective-like manner while
28 thinking of depth and direction.
 ating a Greater Sense of Existence Using Minor Techniques I
_ 2 icture strictly t Vanishing point
_ ~ two-point
· , e does not turn
~-~~,.--, ~:" ~
I;
I'
I I
I I
I I
I I
I I
I
I
I
I
I

M
Do not go to the trouble of
BB
marking a point. Draw a
house assuming that the
vanishing point is above
the house.

BB
I,

nga and drafting techniques

- y drafting techniques are used to draw manga, but
-'"?. .ving manga is not drafting. If it is effective to do so, use
: ~ ·ng techniques flexibly. For instance, you do not have to
" three-point perspective just because the vanishing point is
.::.:: e the picture.
129
 Perspective rulers
Drawing with Perspective Rulers I
(Too Corporation) are
transparent, plate-
type drawing tools
with floor and wall
perspective lines.
1 They come in one-
point, two-point and
three point
perspective types. One-point perspective type
They allow you to
easily draw objects (The horizon line was added in this book.)
with vanishing points Two-point perspective type
far away, so use the
type that matches the r·--f=r:r=r=T"'T'T''=r=r=!~d-----!
angle or image you Horizon line
want.

Dedicated ruler
...
Three-point perspective type

If you assume that one

graduation is 20 em, the
graduations are designed so that
the height of the horizon is 160
em .
When you align the dedicated
Ceiling heights and room
ruler that comes with it with the
compositions are freely
plate's curved surface, slanted
determined by choosing
lines and depth lines will
graduation positions.
converge on the vanishing point.

The two-point perspective ruler can be used

as the basis of a one-point perspective
ckground.
130
 \ \ I I I
- e: Drawing using one-point perspective pattern I I I 7
I II J /
\ ll ( \\ ., .1' vI j j I 7
\ \ \'\ \ '\' fI 7. /II ,; / /
.\ -~\ / ; I!! ' /

_- s etch with horizon line and I \

I \
@Align horizon of perspective ruler.

- -a graduations on
._.....-~· ve rulers to
- '" I potential.
convenient to
pective rulers
- wing a rough

a horizon line on @ Draw perspective lines "----

!n accordance with ~
ugh sketch when
1mage. ~
; e one-point and
int perspective
_- perspective rulers.

Using a tracing box

Tracing paper is usually
placed over a perspective
ruler, but using a tracing box
will be more efficient.

131
 Special Effects Using Perspective Techniques

~.I\, ' ~
----\_·-- -\y·.
'-y·:' The horizon line is two steps down :
·-\ --.:::::::=~~- from the top of the stairs. The horizon
line is oblique relative to the picture. •
.::: en if you draw a character normally, you will get a powerful
mposition by tilting the horizon line.

The ground has been tilted.

The buildings were drawn
using vertical two-point
perspective.

lumn: Overuse of this technique of

tilting the horizon line relative
to the picture can result in a
page that is confusing to look
at. Save it for special
situations.
133
Looking straight up.
Simple one-point perspective.
/1
/

One-point perspective where the horizon

was tilted and curved.
Draw perspective lines and special
effect lines using curved lines.
 Examples/Changing Camera Angles

Draw manga like

you would film a
movie or video. ' ( Long shot )

an effective
presentation by
changing the
camera angle.

136
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